노래하는 민족, 읽는 서정: 최남선과 이병기의 시조론 재고(再考)

Abstract

This article is aimed to figure out the similarity and difference in the sijo theory of Choi, Nam-Seon and Lee, Byeong-Gi. Both Yukdang and Garam were the chief disputants of ‘sijo revival theory’ in the 1920’s and contributed decisively to the modernization of sijo. They have one thing in common in that both beautified ‘Chosunjuui’ based on ‘Chosun mind’(朝鮮心). However, while Yukdang tried to sanctify ‘Dangun’ and the ‘melodies‘ to worship him, Garam attempted to put value on ‘Chosun’s’ after the modern times from the perspective of ‘Silgamsiljeong(實感實情)’. Both Yukdang and Garam regarded folk songs as the origin of entire traditional poetry including sijo from the beginning. However, neither could prove its concrete effect on sijo and the types of acceptance accurately. This may be because Garam and Yukdang provided the core value on ‘pyeong-sijo’ and projected their values and taste onto it. Of course, in Yukdang’s case, he set forth the popular value and tradition of folk songs through ‘folk song theory’. However, he severely criticized the folk songs centering around ‘japga’ which they often sang in the gisaeng houses or restaurants then. It is problematic because in the back side of the criticism to revive and rehabilitate the folk songs, the effects of Japan’s negative view on Chosun folk songs are hidden. In the 1920’s, except for the free verse movement, the sijo revival theory and folk song reformation theory formed the core of the poetry movement. About sijo, return to simple and stable ‘pyeong-sijo’(平時調) was supported. On the other hand, folk songs take on three characteristics; they are ‘local folk songs’ where we can find national identity as well as resistance of the people, ‘japga’(雜歌) corresponding to ‘popular folk songs’, and Japan’s position keeping this in check at the same time. Particularly ‘the popular folk songs’ and ‘Arirang’ were in Japan’s intensive censorship, but there was some kind of double standard, so they were also produced in albums or picture postcards. It is thought that Choi Nam-Seon’s ‘folk song theory’ is also related with such bipolar attitudes of Japan. Lastly, in order to examine Yukdang and Garam’s ultimate interest in ‘folk songs’, the modernity of ‘freer fixed meter(整形律)’ was investigated. This is why Kim Eok and Kim So-Wol’s folk song lyrics and Yukdang and Garam’s sijo were compared. According to the result, Yukdang and An Seo emphasizing ‘Dangun’ and the importance of melody proceeded to be the masters of strict fixed meter(定型律). On the contrary, Sowol and Garam valuing the expression of personal emotion proceeded to freer fixed meter(整形律). The contrast between them can be summarized as the ideation and past of Chosunjuui versus the present and future of Chosunjuui.